on PICTURES IN r+> 
RELIGIOUS EDUCATION 



FREDERIC A BEAR 



BV 1535 
.B45 





Class BV 

Book "B^ 

CopyrigMM__ 

COPYRIGHT DEPOSIT. 



PICTURES IN RELIGIOUS EDUCATION 
FREDERICA BEARD 



From a Copley Print. Copyright by Curtis & Cameron. 

Publishers, Boston, Mass. 



THE BOY OF WINANDER. H. 0. WalTcer 



All day where the sunlight played 
on the sea-shore, Life sat, 
All day the soft wind played with 
his hair, and the young, young face 
looked out across the water. He was 
waiting — he was waiting; but he could 
not tell for what. 



PICTURES IN 
RELIGIOUS EDUCATION 



BY 

FREDERICA BEARD 

AUTHOR OF "PRAYERS FOR USE IN HOME, SCHOOL AND SUNDAY 
SCHOOL," "GRADED MISSIONARY EDUCATION IN THE CHURCH 
SCHOOL," "THE BEGINNER'S WORKER AND WORK," ETC. 



ILLUSTRATED 



NEW 




YORK 



GEORGE H. DORAN COMPANY 



COPYRIGHT, 1920, 
BY GEORGE H. DORAN COMPANY 




OCT -8 1920 



PRINTED IN THE UNITED STATES OF AMERICA 



©CU576780 



3r 



TO 

H. L. 



ACKNOWLEDGMENTS 



Certain of the ideas and plans presented in 
this little book were originally developed by 
the author, in limited scope, in The Pilgrim 
Teacher. Acknowledgment is made of the 
courtesy of the Educational Publications De- 
partment of the Congregational Sunday School 
and Publishing Society for permission to re- 
print these in the present enlarged form. 

Appreciation should also be expressed for the 
right granted by Curtis & Cameron, Boston, to 
use "Religion" by C. S. Pearce, "The Boy of 
Winander" by H. 0. Walker and "The Mother 
and Child" by Jessie Wilcox Smith. 

The author acknowledges the courtesy of 
Hearst's Magazine, The New York American, 
and The New York World for permission to 
reprint some of the verses included in this 
volume. 



ix 



CONTENTS 



CHAPTER PAGE 

I The Place of Art in Religious Education . 15 

II Hunger for the Beautiful 25 

III Pictures in Relation to Worship ... 35 

IV Pictures for Wall Use 60 

V Stories Illustrated by Pictures .... 83 

VI A Life of Jesus in Pictures 106 

VII Pictures Suitable for Use in the Several 

Departments of the Sunday School . . 115 

VIII Teaching with the Stereoscope .... 129 

IX The Effective Use of Pictures .... 145 

X How to Obtain Pictures ...... 155 



xi 



ILLUSTRATIONS 



The Boy of Winander. H. 0. Walker . . Frontispiece • " 

PAGE 

The Sistine Madonna. Rafael 27 

St. Anthony and the Christ Child. Murillo . 37 
The Worship of a Little Child 

A Mother and Child. Jessie Wilcox Smith . 41 
Giving Thanks .......... 43 

Worship in the Fields 

The Angelus. Millet 45 

Worship in the Early Days 

Religion. C. S. Pearce 47 

Jesus' Worship: Communion with the Father 

Jesus in Gethsemane 49 

Three Expressions of Reverence 

I. The Beginnings of Worship: 

The Wonder of a Little Child . . 53 
II. Realization of an Unseen Presence 

Samuel. Joshua Reynolds 55 

III. Recognition and Acknowledgment: 

Washington at Prayer 57 

Pictures for Wall Use 

Christ and the Doctor. Hofmann . . . . 61 
For the Sunday Kindergarten or Beginners' Room 

Madonna and Child. Gabriel Max .... 65 
For the Beginners' Room 

Christ Blessing Little Children. Hofmann . 67 
For the Primary Room 

Holy Night. Mueller 69 

St. Joseph and the Child. Murillo .... 71 
xiii 



xiv ILLUSTRATIONS 

PAGE 

For the Junior Room 

Jesus and the Fishermen. Zimmerman . » 73 

David. Michelangelo - 75 

For the Intermediate and Senior Rooms 

I. Peter and John Running to the Tomb. 

Burchard 77 " 

II. Jesus in the Home of Mary and Martha. 

Hofmann 79 

Stories Illustrated by Pictures ...... 85 - 

Jesus and the Children. Statue by Trimworth . 87 • 

The Father's Loving Care, Illustrated in Four 
Pictures 

I. Piper and Nutcrackers. Landseer . . 91 - 
II. Two Mothers and Their Families. Bou- 

gereau 93 

III. St. John and the Lamb. Murillo ... 95 

IV. The Ingathering. Richter 97 

Jesus Story-Telling Illustrated 

Christ Teaching from a Boat 101 

An Illustration of a Descriptive Picture 

Jesus and the Woman of Samaria. Alligny . 103 . 
A Life of Christ in Picture 

The Christ. Hofmann 107 

Pictures Suitable for Use in the Several Depart- 
ments of the Sunday School 

The Sower. Millet 117 

"Touch Me Not." Schonherr 119 

The Walk to Emmaus. Hofmann 123 

The Walk to Emmaus. Plockhorst 125 

The Mount of Moses in the Sinai Wilderness . 131 

The Abana River, Syria 133 

Hebron, the Home of Abraham, Isaac and Jacob . 135 

Mt. Gerizim 139 

The Church of the Nativity, Bethlehem . . . 141 - 
When a Picture is Effectively Used . . . . 147 

I 



1 



PICTURES IN RELIGIOUS EDUCATION 



PICTURES IN 
RELIGIOUS EDUCATION 

CHAPTEE I 

THE PLACE OF ART IN RELIGIOUS EDUCATION 
"True painting is only an image of God's Perfection." 

"In one of Murillo's pictures in the Lonvre 
he shows us the interior of a convent kitchen; 
but doing the work there are not mortals in old 
dresses, but beautiful white-winged angels. 
One serenely puts the kettle on the fire to boil, 
and one is lifting up a pail of water with heav- 
enly grace, and one is at the kitchen dresser 
reaching up for plates ; and I believe there is a 
little cherub running about and getting in the 
way, trying to help. What the old monkish 
legend that it represented is, I do not know. 
But as the painter puts it to you on the canvas, 
all are so busy and working with such a will 
and so refining the work as they do it, that 
somehow you forget that pans are pans and 

15 



16 PICTURES IN RELIGIOUS EDUCATION 



pots pots, and only think of the angels, and how 
very natural and beautiful kitchen work is — 
just what the angels would do, of course.' ' 

In this suggestive way, William G. Gannett 
points out the value of a picture in religious 
education. The commonplace thing is touched 
with the ideal, the real becomes idealized and 
the ideal in its turn is made real. So in look- 
ing with sufficient earnestness and longing, at 
what is spiritually beautiful, the beauty is re- 
flected and — as time goes on, a change comes 
little by little to him who looks. St. Paul sug- 
gests the same truth from a higher viewpoint: 
' 'we all, beholding as in a mirror the glory of 
the Lord are transformed into the same 
image.' ' (II Cor. 3:18.) 

It is illustrated again in Hawthorne's story 
of the ' 'Great Stone Face," in which he says, 
"It was a happy lot for children to grow up 
to manhood or womanhood with the Great Stone 
Face before their eyes, for all the features were 
noble, and the expression was at once grand 
and sweet as if it were the glow of a vast warm 
heart that embraced all mankind in its affec- 
tions and had room for more. It was an edu- 
cation only to look at it." A mother and her 
little boy sat at their cottage door gazing at 
the Great Stone Face. Ernest said: "I wish 
that it could speak for it looks so very 



ART IN EELIGIOUS EDUCATION 



17 



kindly that its voice must needs be pleasant. 
If I were to see a man with such a face I should 
love him dearly.' ' As the boy grew up he had 
no teacher save only that the Great Stone Face 
became one to him. When the toil of the day 
was over, he would gaze at it for hours, until 
he began to imagine that those vast features 
recognized him, and gave him a smile of kind- 
ness and encouragement responsive to his own 
look of veneration. We must not take upon us 
to affirm that this was a mistake, although the 
face may have looked no more kindly at Ernest 
than at all the world besides. But the secret 
was, that the boy's tender and confiding sim- 
plicity discerned what other people could not 
see and thus the love, which was meant for all, 
became his peculiar portion.' ' Many years 
went by, while he and all the people were look- 
ing for the fulfilment of an old-time prophecy 
that some one should appear bearing the image 
of that Face, until there came a day when the 
people looked at Ernest — now white-haired and 
old — and cried, "Behold! Behold! Ernest is 
himself the likeness of the Great Stone Face." 

"True painting is only an image of God's 
perfection — a shadow of the pencil with which 
he paints, a melody, a striving after harmony. ' ' 
(Michael Angelo.) If this be true, painting 
must have a great influence in religious educa- 



18 PICTURES IN RELIGIOUS EDUCATION 

tion. No wonder that the ignorant and sim- 
ple-minded are tempted to stop and worship be- 
fore an image or a picture, for they seem to 
need some concrete expression of an invisible 
power and love. The evil that some persons 
have feared from such a custom is not in see- 
ing God through nature and through art, nor 
in using anything that draws men toward good- 
ness, but in making the material — whatever it 
be — an end in itself: "Thou shalt not make 
unto thee a graven image, nor the likeness of 
any form that is in heaven above, or that is in 
the earth beneath, or that is in the water un- 
der the earth: thou shalt not bow down thyself 
vmto them nor serve them. ,f This is, in real- 
ity, a commandment against gross materialism 
— a satisfaction in things, without any upward 
longing and faith in the Unseen, and against a 
lowering of that self which was made in the 
image of God. Beside of this thought will 
stand the truth that a loving and righteous 
Father must rejoice in his children's use of 
anything that helps them to understand him 
better, and to grow more like him. Many a 
picture and a statue has made real to human 
consciousness the soul of honor, the strength 
of purity and the glory of unselfish love as did 
the Face of Stone. 

From the earliest times pictorial art has 



ART IN RELIGIOUS EDUCATION 19 



spoken; at first in crudest lines and often for 
superstitious purpose, but in later days as a 
symbol of the highest truth known to man. 
Words have always held a secondary place as 
a means of the communication of ideas, as they 
do to-day in the early development of a child. 
That which might seem to us simply decorative 
in its purpose, was often also instructive 
through its symbolic character, as was true in 
the Egyptian designs and even the tattooings 
of the savage. Four characteristics of pic- 
torial art should be noted: the Decorative, the 
Eealistic, the Symbolic, and the Idealistic. 
Two, or more, of these are constantly found in 
combination. 

With the decorative simply as such, or the 
symbol simply as a sign, we have no concern 
here. The symbol with a deeper meaning has 
a large place in religious education: it is a 
representation in which there is an inherent 
quality resembling the spiritual truth it sym- 
bolizes. The distinction which Carlyle has 
made clear in his essay on Symbolism is an im- 
portant one for religious teachers to under- 
stand. He says: 

"Symbols have both an extrinsic and intrin- 
sic value, oftenest the former only. What, for 
instance, was in that clouted shoe, which the 
Peasants bore aloft with them as ensign in their 



20 PICTUKES IN RELIGIOUS EDUCATION 

Peasants' war! or in the Wallet and staff ronnd 
which the Netherland G-ueux heroically rallied ? 
Intrinsic significance these had none, only ex- 
trinsic: as the accidental standards of multi- 
tudes more or less sacredly uniting together. 
Under like category too, stand or stood the stu- 
pidest heraldic coat-of-arms ; military banners 
everywhere, and generally all national, or other 
sectarian costumes and customs : They have no 
intrinsic, necessary Divineness or even worth, 
but have acquired an extrinsic one, a divine 
idea, as through military banners themselves., 
the divine idea of duty, of heroic daring, in some 
instances of Freedom, of Eight. Nay, the 
highest ensign that men ever met and embraced 
under the Cross itself had no meaning save an 
accidental one. 

"Another matter it is, however, when your 
symbol has intrinsic meaning, and is of itself 
fit that men should unite around it — of this 
latter sort are all true works of Art: in them 
(if thou know a work of art from a daub of 
artifice) wilt thou discern Eternity looking 
through time; the God-like rendered visible. — 
Highest of all symbols are those wherein the 
artist or poet has risen into Prophet and all 
men can recognize a present Glod and worship 
the same: I mean religious symbols. — In the 
symbol proper, there is even more or less dis- 



ART IN RELIGIOUS EDUCATION 21 



tinctly or directly, some embodiment and reve- 
lation of the Infinite; the Infinite is made to 
blend itself with the finite, to stand visible and 
as it were, attainable there.' ' 

Symbolism in relation to ecclesiastical archi- 
tecture cannot be treated in this little work, 
which is to dwell solely on pictures : their value 
and use as a means of spiritual training. It 
must not be passed by, however, without a ref- 
erence to the fact that through many centuries 
it has been an important factor in the construc- 
tion of the Christian church. The reason for 
this is worthy of consideration by a student 
of religious education. It is worth while too, 
and nearer the specific subject of the present 
study, — to ask why pictures form so generally 
a part of the churchly window? Do they help 
to conserve the dignity and glory of the house 
of God and so create a worshipful atmosphere? 
The fact that they have held their place from 
one generation to another shows the effect of 
art on the religious conceptions of Christian 
people. Some of these pictures are instructive 
in character, some are inspirational. These 
terms suggest the two classes of pictures, into 
one or other of which all may be placed, — the 
realistic and the idealistic, — the one teaching 
what is, the other leading to what may be. In 
looking at the history of pictorial art, and at 



22 PICTURES IN RELIGIOUS EDUCATION 

its use to-day, three purposes are evident ; it 
may illustrate fact, or reveal truth, or present 
an ideal. Like fiction that is worthy of the 
name, the last type of picture should suggest 
not what has been, but always what might be. 
It should focus the noblest characteristics in 
concrete representation. A picture, like a 
story, often serves as a mirror to a child, in- 
terpreting life to him and helping him to real- 
ize himself. The interpretative value is really 
included in the three purposes, but to name it 
separately may add to an appreciation of the 
place pictures should hold in religious educa- 
tion. 

As one glances at the development of art and 
notes the many expressions of a religious na- 
ture, the impression grows that religion has 
been the theme above all others, through which 
great artists have chosen to speak. Almost 
all of the world's masterpieces are of religious 
subjects. And no one subject has been a source 
of inspiration and effort to artists as that of 
the Madonna and child. Most of the leading 
incidents of the life of Jesus have been por- 
trayed in art and no greater valuation of that 
life and character is manifest through any other 
medium. These facts indicate how large an 
opportunity is at hand, that has been but 
slightly used in religious education in any di- 



ART IN RELIGIOUS EDUCATION 23 

rect and definite way. An immeasurable influ- 
ence has doubtless gone out to those who have 
come in the way of it, but it might have been 
much greater if wisely and sympathetically 
brought into touch with the masses of people 
and especially with youth under the right re- 
lations. 

The use of art by the public schools for gen- 
eral education has much increased in recent 
years. Reproductions of the masterpieces of 
painting are found on school-room walls, and 
statuary is seen in the halls of high schools. 
Is this use simply for decorative purposes or 
even to give a knowledge of art, or is it for 
an ennobling influence that shall affect charac- 
ter! There are more pictures of religious sub- 
jects on the walls of public school rooms than 
in church schools. This would seem to indi- 
cate that one group of educators has a greater 
appreciation of the good of a religious picture 
than the other, even though the latter be com- 
posed of teachers of religion. Great national 
ideals are set before the children in such pic- 
tures as those of Washington and Lincoln and 
are associated with song and story in the day 
school. A bronze statue of Abraham Lincoln 
stands on the plaza in front of the court house 
in the city of Newark, New Jersey, and it is 
said that every day little children play about 



24 PICTURES IN RELIGIOUS EDUCATION 



this statue. The figure of Lincoln is seated on 
a bench on which rests the tall hat that the 
President was accustomed to wear, and so nat- 
ural is the pose of the figure that to the chil- 
dren it is like a companion and friend. Ee- 
cently, a passer-by saw three little girls there ; 
one sat on one of Lincoln's knees, another 
leaned with crossed arms on the other knee and 
looked up to the great benevolent face, and the 
third child, standing on the same knee, wound 
her arm lovingly against the bronze face. 
Facts are made clear by means of some pic- 
tures, while others are valued for their silent 
influence that is unconsciously absorbed. In 
the schools of religion, — which all Sunday 
schools must be, — good pictures are needed for 
teaching facts, and for interpreting truth ; beau- 
tiful pictures are also needed for presenting 
great ideals, and for that silent unconscious in- 
fluence that shall cultivate a spirit of rever- 
ence and of worship. Why these are needed 
for these purposes, and how the need may be 
met are more fully considered in the follow- 
ing pages. 



CHAPTER II 



HUNGER FOR THE , BEAUTIFUL 

No reason can be asked or given why the soul seeks 
beauty. Beauty in its largest and profoundest sense is one 
expression for the universe. God is the All-fair. Truth 
and goodness and beauty are but different faces of the 
same All. 

Emerson. 

"Please, ma'am, mayn't we come in just to 
see the picture that's so great hanging on the 
wall?" 

So spoke ragged Tony coming from the 
"Black Hole" of Chicago to the entrance hall 
of the Art Institute. A little inquiry revealed 
that Tony had been one of the dozen children 
brought by their kindergartner the week before, 
to see a large and beautiful copy of the Sis- 
tine Madonna, and now here was the little fel- 
low, on the play-day of the week, bringing his 
brother "two years bigger" than himself, that 
he might "see it too." It was against the 
rules for children to enter unaccompanied by 
adults, but the young woman in charge placed 

25 



26 PICTURES IN RELIGIOUS EDUCATION 

a substitute at her desk while she herself es- 
corted the street urchins to see "the picture 
that was great. " To her surprise, they 
stepped softly as if indeed on "holy ground." 
They whispered to each other, not daring to 
speak aloud, and it was her joy to show them 
a few other pictures. Another Saturday morn- 
ing came, and another, and those boys stood 
waiting for permission to enter, until it became 
a custom to allow them to go about the rooms 
for a little while ; they were so reverent and 
so gentle as long as they were there. One was 
reminded of the words, said to be those of the 
prophet Mahomet, "Had I but two coins, with 
one I should buy bread; with the other hya- 
cinths, for hyacinths would feed my soul." 

These little fellows seemed hungry for the 
beautiful, and was it not worth something that 
for half an hour they grew gentle and reverent 
in such an atmosphere? 

The same hunger and its satisfaction is evi- 
dent in two striking incidents recounted by 
Walter L. Hervey: "In the Dresden Gallery, 
the writer once saw two children, brother and 
sister, one ten and the other twelve, looking at 
the Sistine Madonna, They entered the room 
and, without heeding the crowd there gathered, 
almost instantly fixed their gaze upon the pic- 
ture. For many minutes they seemed to be 



HUNGER FOR THE BEAUTIFUL 29 



under a spell. They were drinking in some- 
thing. The great picture was speaking to them 
— to their very souls. And they understood 
something of its message. At all events they 
felt its influence, which is much better than 
merely to understand. 

"More striking, because more unexpected, 
was the influence of a large copy of the same 
picture upon a little boy not two years and a 
half old. Although this child was passionately 
fond of pictures, no other picture ever seemed 
to appeal to him as this one did. As soon as it 
was brought into the house he instantly began 
to examine it, and pass judgment upon it. He 
at once found the center of interest, the young 
child and his mother, then pointed to the an- 
gels, the 'grandfather' and lastly to the 
'lady/ but returned always to the 'dear lit- 
tle baby Jesus,' From this time the story of 
the birth of Jesus was the one story loved by 
the child. And a collection of thirty or more 
madonnas (' mother-pictures,' the child called 
them) by other great masters, was a never fail- 
ing source of delight to him." 

Illustrations, such as these, could be multi- 
plied many times. "Please, ma'am, give me 
a flower," is a familiar sound to one who car- 
ries a bunch of flowers through the streets of 
a city tenement district, and the question arises, 



30 PICTURES IN RELIGIOUS EDUCATION 



Why do flowers call forth such a request, more 
than anything else? Here is the spontaneous 
expression of unappeased hunger: the eager 
longing that bursts forth at the sight of beauty. 
The box of plants at the window of a tumble- 
down dwelling in the midst of the smoke and 
filth of the city is another pathetic sign of the 
craving of the human spirit for beauty. The 
gaudy, often vulgar poster that adorns the 
home of the poor calls forth a smile, it may be 
of scorn or of pity, at such taste, but perhaps 
it is not due to taste but to starvation! It is, 
at least, significant of the desire for beauty, 
though there has been no opportunity for its 
true appreciation. The girl who arrays her- 
self in brilliant color combinations and start- 
ling forms of dress is groping for the beau- 
tiful though she does not know what it is. 

A picture often raises an ideal, changing a 
low one to a higher. But such an influence is 
unrealized and the moral result unappreciated, 
or a beautiful picture would be added more 
often than it is to the necessities of life pro- 
vided for in a home. If the effect on a young 
girl of such a picture as 4 'The Soul's Awak- 
ening,' ' could be tabulated, greater attention 
would be paid to this sort of thing, but such an 
influence is too elusive and too often uncon- 
scious for an expression in exact terms. Par- 



HUNGER FOR THE BEAUTIFUL 31 

ents and teachers who watch carefully and ob- 
serve unnoticed, and who also realize the effect 
of a picture on themselves, will feel the truth 
of Newell Dwight HilhV words, "Having lin- 
gered long before the portrait of Antigone or 
Cordelia, the young girl finds herself pledged 
to turn that ideal into life and character. The 
copy of the Sis tine Madonna hanging upon the 
wall asks the woman who placed it there to 
realize in herself this glorious type of mother- 
hood." Dr. Hillis adds, "The glory of our 
era is that beauty, unfolding from century to 
century, is now increasingly associated with 
those moral qualities that lend remembrance 
to mother and martyr, to hero and patriot and 
saint. To-day, fortunately for society, this 
world-wide interest in art is becoming spirit- 
ualized. From beautiful objects men are pass- 
ing to beautiful thoughts and deeds." 

This is especially true with children for 
"they are moulded unconsciously by their sur- 
roundings, as consciously by their discipline." 
Environment is so great a means of education 
that it is often said to be greater than any 
other. And yet our church schools are held in 
rooms that in many instances are devoid of 
anything that is beautiful and uplifting! An 
unused opportunity is before us. A Sunday 
School environment should be suggestive of 



32 PICTURES IN RELIGIOUS EDUCATION 

the best things, should inspire to effort, should 
present an ideal befitting those who are in it, 
and at the same time be such as to create an 
atmosphere of beauty and restfulness. If a 
place satisfies the inborn hunger for the beau- 
tiful, children and young people are apt to come 
to it, without being able always to give the rea- 
son for so doing. A spirit of order, good- 
will and obedience grows in such an atmos- 
phere. A striking illustration of this was seen 
in a public school room of sixth grade Poles 
and Bohemians. The group had been one of 
the hardest to manage in the school, but the 
principal reported that the children had re- 
sponded to the influence of a room, which by 
the teacher had been made the most beautiful 
in the building. The visitor saw a simple and 
artistic arrangement of vines and plants, a 
good color combination of some of the chil- 
dren's hand-work, and two or three beautiful 
pictures; the whole was conducive to restful- 
ness and reverence, and it would be difficult to 
find a group of children behaving better. A 
similar effect was noted when a company of 
church school pupils entered a beautiful chapel ; 
for a few minutes they were lifted above their 
ordinary surroundings and they responded to 
the situation which satisfied their higher na- 
tures. 



HUNGER FOR THE BEAUTIFUL 33 

If it is true that children are moulded un- 
consciously by their surroundings, and are in- 
fluenced by a good picture, they may be affected 
also by a bad one. It is said that we remem- 
ber two-tenths of what we hear and five-tenths 
of what we see. Whether or not such a pro- 
portion is a true estimate, it cannot be denied 
that what is seen is retained longer than what 
is heard, and that generally a deeper impres- 
sion is made thereby, not alone in relation to 
memory, but also in the effect on feelings and 
will. A picture that is coarse, inharmonious, 
and untrue in its physical aspects or its spir- 
itual suggestion, is in its influence as bad as, 
or worse, than a story of the same type. Yet 
less care is shown about the one than the other. 
A gaudy coloring of some biblical scene is set 
before children, an extreme characterization of 
some event, a vulgar Santa Claus, or a ' ' comic " 
valentine, and we do not stop to consider the 
positive harm of these, or the good that might 
come if the coloring were beautiful, the repre- 
sentation true, and the vulgar and the "comic" 
supplanted by the ideal or the truly humorous. 
Hunger has been satisfied perhaps, but by bad 
food! 

A little child's plane must not be forgotten, 
however, an artistic appreciation that belongs 
only to a later time should not be expected. To 



34 PICTURES IN RELIGIOUS EDUCATION 

him bright colors will appeal more than gentle 
tones; one picture may be in itself more ideal 
than another, but unless it speaks to the child 
and tells a story, it will not be ideal for him. 

There is a time also in a child's development 
when hunger for the beautiful seems to be sup- 
pressed by other hungers. The sublime is 
often turned into the ridiculous by a girl or 
boy of ten to twelve years. Great care in the 
use of pictures is needed at this age. 

Their graded value and use will be consid- 
ered and illustrated in a later chapter. It is 
essential at this point to note only that this hu- 
man hunger varies in the intensity and the form 
of its manifestation. The tidal wave of inter- 
est in what is beautiful (according to the usual 
standard) recedes for a time, and is seen again 
in a deeper appreciation of an ideal type by 
young people in their teens. To discover a 
universal hunger, to watch its development and 
to know how and when it may be best nour- 
ished, that its satisfaction may react in Chris- 
tian character, is a study of intense interest 
to a lover of mankind. 



CHAPTER III 



PICTUKES IN RELATION TO WORSHIP 

Fresh emphasis is being placed on the im- 
portance of training in worship both in home 
and Sunday school. From the earliest days 
of childhood a spirit of worship should be cul- 
tivated, and if this is done in the most natural 
and beautiful way, the ideal longing of the 
adolescent age will find its expression in wor- 
ship. Pictures of the right kind are a great 
help to this end. How they will aid in devel- 
oping a spirit of order, respect and reverence 
was shown in the last chapter. There are sev- 
eral other ways in which they may be of service. 
Besides helping to create an atmosphere in 
which the worship of a group of persons can 
be rightly carried on, they may be directly sug- 
gestive of attitudes to children, not by empha- 
sizing any one form or position, but through 
the expression of an outgoing spirit of joy, 
adoration, penitence or supplication to One 
above and beyond the worshiper; they may also 
signify a need and so teach something of the 

35 



36 PICTURES IN RELIGIOUS EDUCATION 

meaning of worship or of some phase of it, as, 
for instance, in showing gratitude for a par- 
ticular gift. In training children to worship, 
it is not sufficient to teach them to say the 
words of a prayer, or to pray at specified times. 
A larger conception is needed. "The spirit is 
more than the letter" though of course, the 
right sort of * 'letter" will help to cultivate the 
spirit. 

It will be useful in this connection to recall 
the three kinds of pictures referred to in the 
first chapter, — the idealistic, the interpretive 
and the instructive. (These terms are applied 
here with a thought of the purpose for which 
the pictures are used, and not necessarily to 
their composition from the standpoint of art, 
though of course, the one often corresponds to 
the other.) A picture may present an ideal 
of worship (e.g. "Jesus in Gethsemane") or 
it may interpret what worship is (as that of 
the "Angelus"), or create interest in regard 
to some particular experience of worshipping 
(as that of "St. Anthony"). Some one picture 
may fulfill all three values; these are found in 
"Jesus in Gethsemane." 

It is possible to give children a progressive 
conception of worship by means of pictures. 
Great differences are to be found, and one pic- 
ture naturally precedes another for educational 



ST. ANTHONY AND THE CHRIST CHILD. MuHllo 



37 



RELATIVE TO WORSHIP 39 



use, because of its simplicity and the simplicity 
of the truth that it conveys. A careful and sym- 
pathetic observation and interpretation of the 
series shown here will make clear these sev- 
eral points. 

The pictures of a little child at prayer by 
the mother's knee, and of his giving thanks for 
daily food suggest that there is One who is un- 
seen to whom we look for care and help; they 
speak of love and confidence. To young chil- 
dren ' ' The Angelus ' ' will tell of reverence and 
will show that even in the midst of work, there 
is a recognition of the Unseen and a call to 
prayer: it may be especially associated with 
thanksgiving. To make this picture most 
helpful a story is needed to show how in a coun- 
try far away, it is the custom for the people at 
work in the fields to drop their tools and stop 
their work when at a certain hour in the eve- 
ning they hear the ringing of a bell which is 
the call to prayer. 

The picture expressive of religion in the 
early days is of value for children above seven 
years of age. It is most suggestive in connec- 
tion with Old Testament stories, but a feeling 
of worship may be developed by its use inde- 
pendently of these stories, because the need of 
pardon, the presentation of an offering, and 
the reverential attitude are all significant here. 



40 PICTURES IN RELIGIOUS EDUCATION 

From a logical standpoint and for a study of 
the progressive development of worship this 
picture would rightly precede the others men- 
tioned above, but with a child those should be 
used first, because they come nearer to his pres- 
ent experiences. "In the Beginning'' for a 
young child is here and now, and from that be- 
ginning he may go to experiences of the past 
which still hold truth for to-day. This one pic- 
ture may interpret to a child of eight or nine 
years of age, a progressive truth in relation to 
sacrifice; here is the material offering, but 
God has said, "To obey is better than sacri- 
fice," and here is the man sorry for his wrong 
doing, and ' ' The Lord is slow to anger and plen- 
teous in mercy, forgiving iniquity and trans- 
gression," and so 

"Let us conie before His presence with thanksgiving, 
Let us make a joyful noise unto Him with Psalms, 
For the Lord is a great God 
And a great King above all Gods. 
Give unto the Lord the glory due unto His name; 
Bring an offering, and come into His courts. 
Worship the Lord in the beauty of holiness." 

The contrast to be seen in this picture entitled 
"Beligion," and that of " Jesus in Gethsem- 
ane," suggests the difference and the growth 
to be found between worship in the Old Testa- 



THE WORSHIP OF A LITTLE CHILD 




From a Copley Frint. Copyright by Curtis & Cameron. 

Publishers, Boston, Mass. 



a mother and child. Jessie Wilcox Smith 

Now I lay me down to sleep, 

I pray thee, Lord, thy child to keep. 

Thy love be with me through the night 
And bless me with the morning light. 



41 



THE WORSHIP OF A LITTLE CHILD 




Photograph by Alice F. Foster. 
GIVING THANKS 



For this new morning with its light, 
For rest and shelter of the night, 
For health and food, for love and friends, 
For everything thy goodness sends, 
We thank thee, Heavenly Father. 

43 



WORSHIP IN THE FIELDS 




45 



WORSHIP IN THE EARLY DAYS 




From a Copley Print. 



Copyright by Curtis & Cameron. 
Publishers, Boston, Mass. 



religion. C. S. Pearce 



"One is saying 'thank you' ; the other is awful sorry." 
This is the story two little children read from this picture. 



47 



JESUS' WORSHIP: COMMUNION WITH 
THE FATHER 




jesus in gethsemane. Hofmann 
"Not as I will, but as thou wilt." 

" 'Tis midnight and on Olive's brow 
The star is dimmed that lately shone. 
'Tis midnight ; in the garden now, 
The suffering Saviour prays alone. 

" 'Tis midnight, and from heavenly plains 
Is borne the song that angels know ; 
Unheard by mortals are the strains 
That sweetly soothe the Saviour's woe." 

49 



RELATIVE TO WORSHIP 51 



ment and in the New. That which is in the 
Old Testament is nearer child life under twelve 
years of age ; the concrete offering, the request 
for material blessings, the thanksgiving for the 
same, and the cry for forgiveness are all child- 
like. The experience of Jesus and the ideal of 
worship found in this great picture of Christ's 
struggle and overcoming, and of his renuncia- 
tion of self and communion with the Father, are 
especially helpful to young people. As a group 
these four pictures will surely have an influence 
leading to reverence and devotion. 

The pictures which follow this first series are 
given here that varied expressions of worship 
in very different relations may be recognized, 
and their value seen in special connections. 

The wonder and interest of the little child in 
the observation of the flower is apt to lead to 
gratitude, reverence, and later to adoration. 

The picture of Samuel suggests inquiry as to 
what God would have him do, and shows won- 
der and reverence in worship. 

The attitude of St. Anthony as he reverently 
takes the child, tells of worship through adora- 
tion and devotion. (See p. 37.) 

That of " Washington at Prayer' ' at a time 
when he was especially conscious of his need, 
may lead the older boys and girls to feel the 
nobility and manliness of such expression. In 



52 PICTURES IN RELIGIOUS EDUCATION 



this picture there is also a suggestion of inter- 
cessory prayer — the prayer that is not for self 
only, but for a great cause, a common good. 

A picture of a very different type, and es- 
pecially suggestive to young people, that can- 
not be reproduced here, is that of "The Oath" 
by Edward Abbey. It pictures Sir Galahad 
at the time of his knighthood, when he takes 
the vow before the altar "to speak the truth 
and maintain the right ; to protect the poor, the 
distressed, and all women ; to practise courtesy 
and kindness with all; to despise the allure- 
ments of ease and safety; and to maintain honor 
and the cause of God in every perilous adven- 
ture." 

The following word expressions may be as- 
sociated with these pictures according to their 
peculiar fitness; each picture may interpret 
what some one sentence suggests and vice- 
versa : 

"0 give thanks unto the Lord, for He is good." 

"Our Father who art in Heaven, hallowed be Thy 
name." 

"Have mercy upon me, God, according to Thy lov- 
ing kindness." 

"The sacrifices of God are a broken spirit; 
A broken and a contrite heart, God, Thou wilt not 
despise." 



THREE EXPRESSIONS OF REVERENCE 
I. THE BEGINNINGS OF WORSHIP 




THE WONDER OF A LITTLE CHILD 

53 



THREE EXPRESSIONS OF REVERENCE 
II. REALIZATION OF AN UNSEEN PRESENCE 




THREE EXPRESSIONS OF REVERENCE 
III. RECOGNITION AND ACKNOWLEDGMENT 




RELATIVE TO WORSHIP 59 



"The Lord is nigh until all them that call upon Him, 
To all that call upon Him in truth. 
He will fulfill the desire of them that fear Him, 
He also will hear their cry and will save them." 

"Lord, what wilt Thou have me to do." 
"It is good to sing praises unto God." 

"Neither for these only do I make request but for them 
also that believe on me through their word; that they may 
all be one; even as Thou Father art in me and I in Thee 
that they also may be in us." 

Surely all of these pictures will say, 

"0 come let us worship and bow down, 
Let us kneel before the Lord, our Maker." 



CHAPTER IV 



PICTURES FOR WALL. USE 

"Children are moulded unconsciously by their surround- 
ings as consciously by their discipline." 

With a realization of the above truth we shall 
seek to make the church school environment 
the best possible. It should be homelike, beau- 
tiful, and quieting in its influence. One good 
picture on the wall will do more for children 
than several mediocre ones, and a few good 
ones are better than a great many, even of the 
best, There are Primary rooms where en- 
tire friezes of beautiful pictures of the life of 
Jesus have been placed: the artistic effect is 
often excellent, but the educational value of so 
complete a presentation is questionable. Many 
pictures placed before a little child are apt to 
distract, to confuse, to blur his vision for any 
one that needs to stand out distinctly. One, 
two or three that are specially fitted to the chil- 
dren's need at this age should be chosen. Gen- 
erally speaking, the realistic picture, the one 

60 



PICTURES FOR WALL USE 




PICTURES FOR WALL USE 63 



of action, and the one that tells a story, is best. 

But there are many pictures of this kind that 
may have value for an immediate time that will 
not serve the highest purpose for wall use and 
for a permanent influence. Only the best of 
those used in connection with stories or lessons 
should be hung on the wall. And of course 
there are pictures especially good for constant 
observation that may have nothing to do with 
the assigned lessons of a particular time. Be- 
fore placing such a picture on the wall, it will 
be well to relate it to some experience, to an 
event celebrated, or to a story told of a special 
occasion or of the picture itself, so that it may 
speak more clearly to the children than it would 
if simply hanging before them. To have an at- 
tractive and home-like room should be one pur- 
pose in the use of pictures, but mere decora- 
tion should not be the controlling motive. The 
way the furnishing of a room may be developed 
with pupils is worth as much consideration as 
the result to be attained from a truly artistic 
effect. To associate one or more pictures with 
the service of worship is helpful. If three or 
four are selected for the walls of a room, each 
may have a somewhat different significance and 
thus several needs be met ; at least one picture 
should have a quieting, restful effect, while oth- 
ers may be of a more active type. A differ- 



64 PICTURES IN RELIGIOUS EDUCATION 

ence of this kind is noticeable in each couplet 
of pictures shown here for the several depart- 
ments of a school. Worship in one form or an- 
other is also to be found in some of them. A 
picture in relation to this, and of especial value 
for the senior or high school department, is 
that of "The Oath" by Edward Abbey referred 
to in the chapter on worship. 

When a school has to meet in a single room, 
it will be best to have pictures that will appeal 
to both younger and older pupils; this would 
be true of the "Madonna and Child, " "The 
Holy Night' ' and ' ' Christ and the Fishermen ' ' ; 
or the "Head of Christ," "Jesus in G-ethsem- 
ane," and the photographed copy of the statue 
of "Jesus and the Children," shown in other 
parts of this book. 

It is well not to keep the same picture on the 
wall year after year, or even during one year. 
A Christmas picture had better be brought 
freshly before the pupils at that particular sea- 
son, and after two or three months' use, an- 
other take its place that may be altogether new, 
or have been used at some previous time ; but 
no one plan should be ever followed twice in 
succession, for the older pupils will lose inter- 
est in a change that is a mere repetition of an 
earlier time. 

If a school's funds for expenses are provided 



FOR THE SUNDAY KINDERGARTEN 
OR BEGINNERS' ROOM 




FOR THE BEGINNERS' ROOM 




FOR THE PRIMARY ROOM 





ST. JOSEPH AND THE CHILD. Murillo 

71 



FOR THE JUNIOR ROOM 




jesus and the fishermen. Zimmerman 
Jesus saith unto them, Follow Me. 



73 



FOR THE JUNIOR ROOM 




FOR INTERMEDIATE AND SENIOR ROOMS 




PETER AND JOHN RUNNING TO THE TOMB. Burchard 
Fear not ye ; for I know that ye seek Jesus. 



77 



FOR INTERMEDIATE AND SENIOR ROOMS 




PICTURES FOR WALL USE 81 



by the church a small amount should be used 
to procure pictures. When this is not done a 
special contribution may be sought for the bene- 
fit of a department. It is a good thing occa- 
sionally to have pupils join in getting a pic- 
ture for their own Sunday school room, for in 
this way an interest in it will be deepened. If 
desirable pictures cannot be purchased, per- 
haps they may be borrowed for a few weeks 
from the homes of certain pupils, or from in- 
terested members of the church. When a mis- 
sion school cannot supply itself with pictures, 
a good opportunity is open to persons in the 
church which supports the mission, to make its 
rooms attractive and help its pupils by the loan 
of pictures for one Sunday or more. Much 
good may be thus accomplished. A pleasant 
homelike room is one means of bringing people 
into a place, and foreigners, especially Italians, 
are interested in pictures. Under some condi- 
tions a loan exhibit of beautiful religious pic- 
tures might be arranged for a social evening 
at a mission and a double good be done. A 
group of well-to-do people loaning pictures 
might thus become more interested in the mis- 
sion group, and a larger number of people in 
the neighborhood of the mission might be at- 
tracted to it. 

In many schools different collections of small 



82 PICTURES IN RELIGIOUS EDUCATION 

unframed pictures, such as good prints from 
the magazines, may be made in relation to a 
subject studied by the older pupils. For ex- 
ample, pictures of the country where Jesus 
lived, the life and customs of Palestine, or pic- 
tures representing the places and events of St. 
Paul's journeys. These may be placed on the 
wall for two or three weeks, fastened to a low 
moulding or a strip of burlap. Jules Gruerin's 
prints of the Holy Land would be especially 
good for schools that can afford them, and for 
class rooms where the older boys and girls 
study and are naturally interested in the geo- 
graphical side of a subject. 



CHAPTEE V 



STORIES ILLUSTRATED BY PICTURES 

We're made so that we love 
First when we see them painted, things we have passed 
Perhaps a hundred times, nor cared to see : 
And so they are better painted — better to us, 
Which is the same thing. Art was given for that; 
God uses us to help each other so, 
Lending our minds out. 

Robert Browning. 

By pictures we help each other to a mental 
vision of the beautiful things of God and the 
beauty of the truth that lies back of these 
things. By pictures we make lustrous or light 
the story that as a word-picture might be only 
half appreciated. The object, be it person or 
thing, stands first in its power to illustrate 
because it is concrete, something that can be 
touched, felt, seen. But objects, valuable as 
they are in teaching if rightly used, are also 
dangerous, in that they are absorbing in them- 
selves, and so do not always illustrate that for 
which they have been introduced. 

83 



84 PICTURES IN RELIGIOUS EDUCATION 



A picture is the mean between the thing and 
the word, being a representation of some thing, 
and so less abstract than the word, which is 
only the sign for the thing. A picture, there- 
fore, will not only explain the story or combina- 
tion of words we present to the ear, but will 
impress what has been told because it appeals 
to the eye. It should speak, therefore, of the 
most important part of the story, the heart of 
it, and not just of the physical environment or 
incidental facts. For instance, it is more im- 
portant for children to have an impression of 
Jesus meeting Mary and making her happy 
than to be impressed with the tomb, what it 
looked like and how the stone was rolled away. 
Again, the manger and the swaddling clothes 
signify little as compared with the Mother and 
the Baby Jesus. Perhaps the reader thinks 
both may and should be illustrated, but it needs 
to be remembered that the impression of ma- 
terial details often shuts out those of greater 
good — not always because the one wins more 
interest than the others, but because it is the 
' ' first comer, ' 9 and attention is not given to as 
many things as we sometimes think possible. 

A picture will not only clarify and impress, 
it will also suggest and thus often tell more 
than words. This is especially true in regard 
to the spiritual significance of a story, and is 



From "The Bible for Children," by H. Thistleton Mark, by per- 
mission of the publisher, F. H. Revell Company 

JESUS AND THE CHILDREN 

{Statue by George Trimworth in Whitworth Park, Manchester.) 

Let the Little Ones come unto Me. 
87 



STORIES ILLUSTRATED 89 



well pointed out by Miss Grace Jones in the 
following words : 6 i Tell to children the wonder- 
ful story of Correggio's 'Holy Night.' Show 
them that this great master of light and shade 
was able to tell the world that Christ came to 
be the light of the world by making all the 
light in the picture radiate from the infant 
Christ. This was not simply an earthly scene ; 
true, the shepherds said one to another, Let us 
now go even unto Bethlehem, and see this thing 
that is come to pass, which the Lord hath made 
known to us, but the artist has pictured to us 
that not only the shepherds came but it would 
seem that all the ' heavenly host' accompanied 
them and sang again, 

" 'Glory to God in the highest, 

And on earth peace among men in whom he is 
well pleased.' 

Then if the children could turn again to their 
Bibles and read Luke 2 :8-20 and sing that great 
Christmas hymn, ' Silent Night, Holy Night,' 
the Christmas season might indeed be a holy 
time in their lives." 

When the familiar incident of "Suffer little 
children ' ' is told and the old hymn, ' ' The Mas- 
ter has come over Jordan," is used as a story, 
a large sized copy of Plockhorst's "Christ and 
the Children ' ' shown near the end of the story, 



90 PICTURES IN RELIGIOUS EDUCATION 



makes a beautiful climax. The newer picture 
from the statue by Trimworth, page 87, shows 
very beautifully the love of Jesus for the indi- 
vidual child and the trust of a little child in 
him. 

With nature stories that are to teach 
G-od's loving care, a group of pictures such 
as these shown here will add much to the 
appreciation of the children. Sentences from 
the Bible and helpful verses should be associ- 
ated with these pictures, as suggested by those 
printed beneath them. Note also the progres- 
sive steps : first a suggestion of how the ani- 
mals are taken care of, next that of the mother 
and child, and then the child's protecting love 
for the animal, and lastly the abundance of 
good things given from the Heavenly Father. 

A copy of the painting by Pearce entitled 
"Religion" (which is shown in the Worship 
group on p. 47) was once placed before a com- 
pany of Primary children who had heard the 
Old Testament stories. Sacrifice had been re- 
ferred to in some of these stories as "the way 
in which people made offerings when they 
prayed in the days long ago." While the chil- 
dren looked at this good-sized picture held be- 
fore them, the teacher merely asked, "What 
story does it tell to you?" Quickly came the re- 
sponse, "One is saying ' thank you'; the other 



THE FATHER'S LOVING CARE 
ILLUSTRATED IN POUR PICTURES 




THE FATHER'S LOVING CARE 




THE FATHER'S LOVING CARE 




\ 



THE FATHER'S LOVING CARE 




IV. THE INGATHERING. RicMer 
He giveth us richly all things to enjoy. 
97 



STORIES ILLUSTRATED 99 



one is sorry.'' It seemed afterwards as if the 
picture hanging on the wall for weeks had an 
influence on the children's " thank you's" and 
the manner of their offerings. 

A picture for young children should repre- 
sent rather than describe; that is, it should 
portray the chief action instead of the details 
of a character, an event or a scene. The Ma- 
donnas in their passive restfulness are attrac- 
tive to children, not because of their passivity, 
but because of the mother's tender care and 
comfort for her little one. A complexity of 
many things in a picture often makes it more 
perplexing than enlightening when used in re- 
lation to a story. "With this in mind, study care- 
fully before using some of the prints prepared 
for use with Primary lessons, and test their 
usefulness. 

A picture may hinder right appreciation. 
Some things had better not be explained; they 
may well remain a mystery. If a story of 
Christ's raising the dead is told to little chil- 
dren, it is far better not to picture it; there is 
no good in the representation, and there may 
be harm. A spiritual suggestion does not al- 
ways need to be objectified. A literal illustra- 
tion hinders rather than helps. When con- 
trasting good and evil in a story, the former 
should be pictured rather than the latter. 



100 PICTURES IN RELIGIOUS EDUCATION 

Images of wrong-doing set before the mind lead 
to imaginations of evil. 

Sometimes a picture is enlightening or mis- 
leading according to its size. An old illustra- 
tion of this will bear repetition: a little girl 
brought up in the city streets made a visit to 
the country and saw a cow for the first time. 
When told the name of the animal she ex- 
claimed, "My! I thought a cow was so big," 
holding up two fingers and indicating about five 
inches ! Pictures of a cow of this size had been 
shown in the mission Kindergarten ! 

Children of nine to twelve years are most 
interested and benefited by realistic and de- 
scriptive pictures. Life in materialistic and 
physical relations makes its strongest appeal 
at this age. The best of this kind of art — from 
the standpoint of the interests and needs of 
these boys and girls, should be presented to 
them. Some of Tissot's pictures with their viv- 
idness and intense realism may be used to il- 
lustrate to them Old and New Testament 
stories. When biographical studies are given, 
certain strongly drawn characters in this col- 
lection will be useful. Others are gross and ex- 
treme and will intensify tendencies that should 
not be encouraged, for instance, a love of bril- 
liancy to the point of gaudiness. Illustrations 
of those that are good are: "The Caravan of 



JESUS' STORY-TELLING ILLUSTRATED 




AN ILLUSTEATION OF A DESCRIPTIVE PICTURE 




JESUS AND THE WOMAN OF SAMARIA. Alligny 



103 



STORIES ILLUSTRATED 105 



Abraham," "Joseph Bevealing His Dream," 
"The Seven Trumpets of Jericho," "By the 
Waters of Babel," "Othniel and Deborah"; 
among the undesirable may be mentioned — for 
the sake of some guide in selection — the Esau 
and Jacob pictures, "The Friendship of Jona- 
than and David," "Absalom," "Elijah Bun- 
ning Before the Chariot," "The Writing on the 
Wall." 

When older pupils are studying the lives of 
the prophets and their stories, an interesting 
character study can be given by using a copy 
of Sargent's frieze of the prophets: it will be 
best to use pictures of the single characters 
first, and then of the entire group. 

Bible scenes and places can be made real by 
means of pictures : a visual image of oriental 
life will make plain many of the accounts of 
the Gospels. This is done best by the use of 
stereograph pictures, and these will be dis- 
cussed on a later page. But if they cannot be 
obtained because of their expense, pictures of 
this type can be found in collections and in 
books such as "Pictures from Bible Lands" 
(revised edition) by Samuel G. Green; and 
"Scenes from Every Land": pictures issued in 
book form by the National Geographic Soci- 
ety, Washington, D. C. Vol. Ill and Vol. IV are 
available at this time. 



CHAPTEE VI 



A LIFE OF JESUS IN PICTURES 

One of the most beautiful ways of studying 
the life of Jesus is by seeing it through pic- 
tures. His character as portrayed by the many 
artists who have tried to put on canvas their 
conceptions may be made vivid to young people 
by a grouping of the pictures that show sim- 
ply the Master himself, or they may see His 
life from an historic standpoint by gathering 
pictures of the chief events. Again, a biog- 
raphy may be arranged with the purpose of 
emphasizing certain characteristics of Christ, 
or of his teachings. For a little child a story 
of Jesus may be told by twelve to twenty pic- 
tures placed in a photo album: these if care- 
fully selected and arranged will be better for 
him than most of the illustrated Bible story- 
books. Such a collection of pictures should be 
made little by little, as he hears the stories in 
Sunday school, and it may serve as a book to 
be kept for the church service and placed with 

106 



A LIFE OF JESUS IN PICTURES 




the christ. Hofmann 



107 



A LIFE OF JESUS 



109 



father's and mother's Bibles in the pew, for 
special use during the sermon time. For this 
purpose the following pictures have been found 
good : 



Madonna and Child Gabriel Max 

or 

Sistine Madonna Raphael 

Apparition to the Shepherds Plockhorst 

The Arrival of the Shepherds Lerolle 

Holy Night Mueller 

Mary and Elizabeth Mutter 

Repose in Egypt Plockhorst 

or 

Holy Family Mutter 

St. Joseph and the Christ Child. . . Murillo 

Flight into Egypt Bougereau 

Christ in the Temple Hofmann 

Jesus and the Children Plockhorst 

Jesus, the Good Shepherd Plockhorst 

Christ at the 'Home of Mary and 

Martha Hofmann 

Jesus Preaching from the Ship . . . Hofmann 

The Sermon on the Mount Hofmann 

Entry into Jerusalem Plockhorst 

Touch Me Not . . . . Schonherr 

The Walk to Emmaus Plockhorst 



When boys and girls of twelve to fourteen 
years of age are studying the life of Jesus in 
their Sunday school lessons, it will be inter- 
esting and helpful for them to arrange individ- 



110 PICTURES IN RELIGIOUS EDUCATION 



ually, or as a class, an illustrated biography of 
Jesus touching the chief events of His life. A 
selection from the following lists will be good 
for this work. A distinction is made for girls 
and for boys because, while many pictures are 
of equal interest to both sexes, there are those 
that are especially helpful for boys, and others 
from which they would turn away; .there are 
also some peculiarly fitting to girls : 

BIOGRAPHY OF JESUS IN PICTURES 



For Girls 

The Annunciation Hofmann 

Mary and Elizabeth Midler 

Sistine Madonna Raphael 

Madonna and Child Murillo 

Mother and Child Bodenhauser 

Holy Night Correggio 

Announcement to the Shepherds. . Plockhorst 

Flight into Egypt Hofmann 

Repose in Egypt Plockhorst 

Child Jesus. Murillo 

Child Jesus Ittenbach 

Christ in the Temple Hofmann 

Head of Christ Hofmann 

Christ the Consoler Zimmerman 

The Sermon on the Mount Hofmann 

Feeding of the Five Thousand .... Murillo 
Christ Blessing Little Children . . . .Hofmann 
Jesus and the Woman of Samaria. Hofmann 
Raising the Widow's Son Hofmann 



A LIFE OF JESUS 



For Girls (continued) 

The Good Samaritan Hofmann 

In the Home of Mary and Martha. Hofm a nn 

Christ in Gethsemane Hofmann 

Entry into Jerusalem Plockhorst 

The Last Supper Da Vinci 

Christ Taking Leave of His Mother Plockhorst 

Eece Homo Guido Reni 

Christ Before Pilate Munkacsy 

He Is Risen Plockhorst 

Holy Women at the Tomb Bourgereau 

The Walk to Emmaus Plockhorst 

The Light of the World., Hunt 

For Boys 

Arrival of Shepherds Lerolle 

Journey of Wise Men Portaels 

Adoration of Magi Hofmann 

Flight into Egypt Hofmann 

St. Joseph and The Child Murillo 

The Boy Christ Hofmann 

Christ in the Temple Hofmann 

Christ and The Fishermen Hofmann 

Christ Teaching from a Boat Hofmann 

The Sermon on the Mount Hofmann 

Christ and the Rich Young Ruler . . Hofmann 

Raising the Widow's Son Hofmann 

The Good Samaritan Hofmann 

Christ Stilling the Tempest Bore 

Jesus Healing the Ten Lepers .... Unknown 

Tribute Money Titian 

If Thou Hadst Known William Hole 

Christ in Gethsemane Hofmann 

The Last Supper Da Vinci 



112 PICTURES IN RELIGIOUS EDUCATION 



For Boys (continued) 

Ecce Homo Guido Reni 

Christ Before Pilate Munkacsy 

Christ Bearing His Cross Hofmann 

So They Ran Both Together Burchard 

The Walk to Emrnaus . . . PlocJchorst 

The Light of the World Hunt 



THE CHARACTER OE JESUS AS SHOWN 1 1ST PICTURES 

The group of pictures named below is indica- 
tive of how men have tried to portray the char- 
acter of Jesus Christ. A study of these must 
suggest to young people that at least these 
artists believed him to be "the One above all 
others." 

The Christ Child Murillo 

The Boy Christ Hofmann 

Head of Christ Hofmann 

The Saviour Hofmann 

Baptism of Christ Maratti 

The Head of Christ Rossetti 

The Saviour Leonardo Da Vinci 

The Tribute Money Titian 

The Christ Thorwaldsen 

Light of the World Holman Hunt 

The Good Shepherd Dobson 

Christ and the Magdalene Von Uhde 

Christ the Consoler Zimmerman 

If Thou Hadst Known William Hole 

Christ in Gethsemane Hofmann 

Christ Taking Leave of His MotherPlocJchorst 



A LIFE OF JESUS " 113 



Christ Before Pilate Munkacsy 

Christ Bearing His Cross Giorgione 

Ecce Homo Correggio 

Ecce Homo Guido Beni 

Ecce Homo Murillo 



The Saviour After His Resurrection Anthony Van Dyck 
THE TEACHINGS OF JESUS 1 1ST PICTUKES 

The following pictures are named as good 
illustrations of some of the parables or stories 
Jesus told. 

The Merchantman and the Pearl of 



Great Price Geo. W Joy 

The Parable of the Great Supper. . . .Eugene Burnand 
The Parable of the Good Shepherd. . .Sybil Parker 

The Lost Piece of Silver Millais 

The Prodigal Son J. M. Swan 



"For He Had Great Possessions" G. F. Watts 

"Behold, a Sower Went Forth to Sow." 
The Good Samaritan. 

"God, I Thank Thee That I Am Not as Other Men 
Are." 

Photographs of Mastroianni's Sculpture. 

Note : Some of the above pictures cannot be 
obtained in inexpensive prints, but the last 
three and those that follow may be seen in 
"The Pictorial Life of Christ" by Ira Lyman 
Dodd or "The Gospel in Art," edited by W. 
Shaw Sparrow. 



114 PICTURES IN RELIGIOUS EDUCATION 



EVENTS EKOM THE LIFE OF JESUS PICTUKED FEOM 
SCULPTURE 

The subjects named below represent some of 
the most interesting pictures of D. Mastroian- 
ni's work in sculpture. He is the first artist 
who has attempted through this medium to 
show the chief events of Jesus' life from Beth- 
lehem to Golgotha, and has been called the Tis- 
sot of Sculpture. 

"And Mary said, My soul doth magnify the Lord." 

"He took the young child and his mother by night 
and departed into Egypt." 

"And he went down with them and came to Naza- 
reth and was subject unto them." 

"They that be whole need not a physician — go ye 
and learn what that meaneth." 

"Seeing the multitude, he went up into the moun- 
tain and taught them." 

"Behold a sower went forth to sow." 

"Mary called Magdalene, out of whom went seven 
devils." 

"Be of good cheer: it is I, be not afraid." 

"And behold, there appeared unto them Moses and 

Elias talking with him." 
"He that is without sin among you, let him first 

cast a stone at her." 
"And set him on his own beast and brought him to 

an inn." 

"God, I thank Thee that I am not as other men 
are." 

"Lord, dost Thou wash my feet?" 
"Art Thou the King of the Jews?" 



CHAPTEE VII 



PICTURES SUITABLE FOR USE IN THE SEVERAL DE- 
PARTMENTS OF THE SUNDAY SCHOOL 

Discrimination is as much needed in the se- 
lection of pictures as in the selection of Bible 
lessons for different ages. A study of real life 
in the progressive stages of childhood together 
with a study of pictures, will reveal those most 
helpful for one period and those best suited 
to another. The subjects discussed in the pre- 
ceding pages have already indicated some dis- 
tinctions to be made. The little child naturally 
responds to the picture of action, to the simple 
unit without many details and to the one that 
tells a story. The child a little older seeks the 
story also, and the picture that is full of life, 
but the descriptive type and what may be 
termed the picture of facts has greater interest 
for him than one that is beautiful as an artistic 
production. The realistic picture should be 
mostly used at this time, with a careful avoid- 
ance of that which will fill the mind with what 
is undesirable. This last point may be made 

115 



116 PICTURES IN RELIGIOUS EDUCATION 



clearer by an illustration: At one Sunday 
school entertainment pictures from the Old 
Masters were exhibited; they were looked at 
with wonder by the oldest pupils, but the school 
leaders who had planned the entertainment had 
not foreseen the effect of many of these pic- 
tures on some of the boys and girls of ten to 
twelve years of age: to them physical realism 
appealed most strongly, they were absorbed 
with what they felt was funny, if not ridicu- 
lous, — and laughter resulted, with an irrever- 
ence for subjects that in reality were sacred 
and uplifting. (Murillo's "Immaculate Con- 
ception" and Bubens' " Doubt of Thomas" and 
"Descent from the Cross" are examples of this 
sort of picture.) 

As many schools are now using graded series 
of lessons, pictures in relation to these differ- 
ent courses must be of necessity, graded to some 
extent. But under such conditions there is 
often a wide margin for choice and an intelli- 
gent understanding of what is best is needed 
for selection. With this in mind, the pictures 
listed below are named, in order to point out 
some that are especially good for use, and also 
to aid teachers in making a comparative study. 
The lists are not, of course, exhaustive but are 
intended to be typical and suggestive. Even 
when the same subject is considered, as, for 




119 



PICTURES FOR SUNDAY SCHOOL 121 



instance, that of Christmas, or of Easter, it 
will be worth while to note the significance of 
using one picture with little children, and a 
very different one with young people, or with 
boys and girls of ten to twelve years of age. 
An illustration of this is shown in the selec- 
tions in regard to the Resurrection given on 
pp. 119-125: Schonherr's "Touch Me Not" is 
named for young children, not for what the title 
suggests, but because the picture illustrates the 
simple conversation of Jesus and Mary and his 
tender sympathy. "The Walk to Emmaus" 
shows a different phase of the Master's charac- 
ter in his companionship with his disciples, to 
which the older boys and girls would be more 
likely to respond. And there is an interesting 
difference between Hofmann's and Plockhorst's 
conceptions of this one subject — the former 
might mean more to children of middle child- 
hood, the latter to the adolescent time of life. 
The intense eagerness signified in the picture 
of "Peter and John Running to the Tomb" 
is apt to be suggestive of deep devotion to 
young people, and with the strength and viril- 
ity portrayed, the picture may aid in forming 
a worthy ideal. Another significant study of 
differences may be made by a comparison of 
"St. Anthony and the Infant Christ" and "St. 
Christopher and the Christ Child." 



122 PICTURES IN RELIGIOUS EDUCATION 



If the crucifixion is pictured at all to boys 
and girls under twelve or fourteen years, 
Munkacsy's " Christ on Calvary" is better than 
Bubens' " Elevation of the Cross" or his "De- 
scent from the Cross." 

In this day of inexpensive prints there is a 
danger of using too many of these with lessons 
for young children. It is not necessary or well 
to find a picture for every lesson. Some sub- 
jects had better not be represented pictorially 
even with older pupils, e.g., "The Temptation 
of Jesus." Occasionally to give a picture to 
be taken home will have a better result than 
to give one every Sunday. 

PICTUKES FOR. USE WITH CHILDREN" UNDER SIX 
YEARS OF AGE 



The Madonna and Child Gabriel Max 

The Holy Night Mueller 

The Announcement to the Shep- 
herds PlocJchorst 

The Shepherd Boy Murillo 

Christ Blessing Little Children .... PlocJchorst 

Christ Feeding the Multitude Murillo 

The Good Shepherd PlocJchorst 

The Gleaners Millet 

Spring Knaus 

Can't You Talk? Holmes 

The Squirrels Landseer 

Gypsy Girl with Fruit Richter 



THE WALK TO EMMAUS. Hofmann 



123 



THE WALK TO EMMAUS. PlocTchorst 



125 



f 



PICTURES FOR SUNDAY SCHOOL 127 



FOE USE WITH CHILDREN SIX TO EIGHT YEARS OE AGE 

The Sistine Madonna = Raphael 

Madonna of the Chair Raphael 

Holy Night Correggio 

Arrival of the Shepherds Lerolle 

Journey of the Magi Portaels 

St. Anthony and the Infant Christ. Murillo and Miiller 
St. Joseph and the Christ Child. . . .Murillo 

Jesus in the Home Von TJhde 

Jesus Teaching from a Boat Hofmann 

The Entry into Jerusalem Plockhorst 

Touch Me Not Schonherr 

Samuel Joshua Reynolds 

Religion Charles S. Pearce 

Into the Land of Canaan They 

Came Bore ■ 

Isaac Blessing J aeob Bore 

Moses Belaroche 

The Lost Sheep Molitor 

The Sower Millet 



FOR USE WITH CHILDREN NINE TO TWELVE YEARS 
OF AGE 



Worship of the Wise Men Hofmann 

Journey of the Magi Portaels 

Head of Christ Hofmann 

Jesus in the Temple Hofmann 

Jesus and the Fishermen Hofmann 

The Sermon on the Mount. ...... .Hofmann 

Healing of the Sick Hofmann 

The Good Samaritan Plockhorst 

The Walk to Emmaus Hofmann 



128 PICTURES IN RELIGIOUS EDUCATION 



St. Christopher and the Christ 



Child 

Moses and the Law. 

David 

Chorister Boys 

The Sower , 

Calling of Abraham 

Rebecca 

Rebecca at the Well 



Titian 

Unknown Artist 

Michelangelo 

Anderson 

Millet 

Dore 

Elmore 

Unknown Artist 



Also the Old Testament subjects named for 
the Primary division, and some of the Tissot 
pictures. 

FOR USE WITH BOYS AND GIRLS OVER TWELVE 
YEARS OF AGE 

The Light of the World Hunt 

The Soul's Awakening J. J. Sant 

Christ in Gethsemane Hofmann 

In the Home of Mary and Martha . . Hofmann 

Casting out the Money Changers Hofmann 

Jesns Before Pilate Munkacsy 

Christ Taking Leave of His Mother. Plockhorst 
Jesus and the Woman of Samaria . . .Alligny 

St. John and the Virgin Plockhorst 

The Last Supper Da Vinci 

Peter and John Running to the 



Head of Paul 

The Prophets 

The Oath 

Hagar and Ishmael 



Tomb 



.Burchard 
Raphael 
Sargent 
Abbey 



West 



CHAPTEE VIII 



TEACHING WITH THE STEKEOSCOPE 

Some one has said that to look through a 
stereoscope at the reproduction of some real 
scene is like looking through a window upon 
the landscape without, so vividly are its char- 
acteristics portrayed to the eye. The great 
value of stereoscopic pictures in the teaching 
of the Bible is that by this means things far 
distant in place and time are brought near. 
As mental images of geographical and social 
conditions are clearly formed, many Biblical 
passages and incidents are more readily under- 
stood. When the setting of any literary work 
is known, and its forms of expression and the 
life from which it grew are realized, its mes- 
sage is likely to be comprehended. But in 
studying the Bible it is more essential to know 
the oriental setting of its stories and expres- 
sions, than to be familar with the background 
of other writings, because the Eastern manner 
of thought and living is so different from that 
of the Western world. The fact also that the 

129 



130 PICTURES IN RELIGIOUS EDUCATION 



books of the Bible were written in other lan- 
guages than our own and that translations can- 
not fully transmit the original thought makes 
every aid to a true conception of their teach- 
ings valuable and necessary. 

If the Bible is made a book of real and liv- 
ing characters to boys and girls, their interest 
in its study will increase. Too often they think 
of these characters as mystical and unnatural 
personages. Milton S. Littlefield has well said 
"The very sacredness of the Bible has limited 
its educational value. We have hallowed and 
haloed its heroes, and rightly. Nevertheless in 
the process we have put both the men and the 
book far away from the consciousness of the 
pupils, so that they think of them as belonging 
to another world.' ' Children must see the peo- 
ple of the Bible stories with such a sense of 
reality that their experiences of right and of 
wrong, of struggle and of victory will apply as 
truly to the life of to-day. This does not mean 
that every story need be of necessity a story of 
fact, or that the historicity of every character 
and event be emphasized, but it does mean that 
these will have little value unless they repre- 
sent real human life in a real environment. 
Stereoscopic pictures are an aid to this end. 
The strong geographic interest of girls and 
boys of ten to fourteen years of age affords an- 




131 



Copyright, Underwood & Underwood. 
THE ABANA RIVER, SYRIA 



133 



Copyright, Underwood & Underwood. 
HEBRON, THE HOME OF ABRAHAM, ISAAC AND JACOB 

135 



TEACHING WITH STEREOSCOPE 137 



other reason for the use of the stereoscope ; that 
and the relief map complement each other. A 
great many children think of Palestine simply 
as the country of the Bible, but not one to be 
visited to-day, and they have no conception of 
how it may be reached, or of what may be 
found there. 

A variety of work can be carried out with 
the stereograph. The particular scenes form- 
ing the background of a single lesson may be 
shown, or after pupils have had Old and New 
Testament lessons that are related to one place, 
the geographical element may be the connect- 
ing link and the basis for recall and emphasis, 
by means of an imaginary visit to the spot. If, 
for instance, the story of the giving of the Law 
is told, a view through the stereoscope of the 
picture illustrated here — "The Mount of 
Moses' ' in the Sinai "Wilderness, — will give an 
impression of the rugged loneliness of the place 
to which Israel's great leader went to learn 
the commandments of God. "Hebron" (p. 131) 
appears as a real city, and though more popu- 
lous in the present day picture than in the early 
times, it shows the character of the home of 
Abraham, Isaac and Jacob, and also David's 
first capital. "Mt. Gerizim" (p. 139 points 
out the familiar landmark in connection with 
the separation of the kingdoms of Israel and 



138 PICTURES IN RELIGIOUS EDUCATION 

Judah, and the famous place of worship of the 
Samaritans referred to in the New Testament. 
The view includes the steps often leading to the 
wells, and the women with their pitchers seek- 
ing water. When children can look upon the 
actual localities through which the Israelites 
journeyed and where their armies fought and 
many wonderful events occurred, the accounts 
grow vivid to the imagination. A boy's dra- 
matic interest in the repeated encounters of the 
Israelites, recorded in Judges when over and 
over again ' ' They did evil in the sight of the 
Lord," is evident by the exclamation of one, 
' 'Drat 'em! They're at it again!" 

If there is a lesson on the building of the 
temple, the pupils may see Mount Moriah and 
the sacred rock where the temple altar stood 
and know — to quote once more from Mr. Little- 
field — "that this was very probably the rock 
on which Abraham looked and David stood and 
^before which Solomon knelt. The imagination 
will very easily overleap the intervening time 
as we stand upon the site of the temple en- 
closure and look off to the Mount of Olives, to 
the modern Garden of Gethsemane. It is a 
, small walled enclosure now, and the ancient 
olive trees that are carefully guarded are not 
the trees that stood there in our Lord's day, 
for during the Eoman siege every tree was cut 



Copyright, Underwood & Underwood. 
MT. GERIZIM 



139 



Copyright, Underwood & Underwood. 
THE CHURCH OF THE NATIVITY, BETHLEHEM 

141 



i 



TEACHING WITH STEREOSCOPE 143 



down. But it was under just such trees, in just 
such a garden, that our Lord prayed, and his 
young friend, John Mark, kept guard while his 
disciples slept, and only escaped capture by 
leaving his tunic in the hands of the Eoman 
soldiers." 

The character of the birthplace of Jesus and 
of the people of Bethlehem is shown through the 
stereograph entitled, "The Church of the Na- 
tivity" (p. 141). If the children are studying 
the life of Christ and have seen, for instance, 
Hofmann's "Jesus Teaching from a Boat," it 
will mean much to have a view of the Sea of 
Galilee. They may see, too, the hills where 
Jesus played as a boy and over which he 
traveled as he went from place to place during 
his ministry. A series of stereographs illus- 
trating the journeyings of Jesus can be so used 
as to point out and emphasize the chief events 
of his life, or some of his greatest teachings, 
by raising questions such as these: What did 
Jesus teach on a particular mountain, What 
did he say at a famous well, or What did he do 
near a certain pool? The pupils are apt to be- 
come so absorbed in the pictures that care must 
be taken in Sunday school to use the stereo- 
scope as one should use all tools — to serve the 
highest purpose, and this is to make clear the 



144 PICTURES IN RELIGIOUS EDUCATION 



truth that is enfolded in the facts, whether they 
be of a geographical, social or historical type. 

The purchase of a stereoscope with a set of 
pictures is expensive, but it is a material that 
will last for years and may be passed from 
class to class as occasion requires. 



CHAPTER IX 



THE EFFECTIVE USE OE PICTTJEES 

"Nature says, here is a lump of mud; man 
answers, let it become a beautiful vase. Na- 
ture says, here is a sweet brier; man answers, 
let it become a rose, double and of many hues. 
Nature says, here is a string and a block of 
wood ; man answers, let them be a sweet-voiced 
harp. Nature says, here is a daisy; Burns an- 
swers, let it be a poem. Nature says, here is a 
piece of ochre and some iron rust; Millet an- 
swers, let the colors become an Angelus. Na- 
ture says, here is reason rude and untaught; 
man must answer, let the mind become as full 
of thoughts as the sky of stars and more ra- 
diant. Nature says, here is a rude affection; 
man must answer, let the heart become as full 
of love and sympathy as the summer is full of 
ripeness and beauty. Nature says, here is a 
conscience, train it ; man should answer, let the 
conscience be as true to Christ and God as a 
needle to the pole." 

Newell Dwight Hillis. 
145 



146 PICTURES IN RELIGIOUS EDUCATION 



There are artists of the soul who in training 
the conscience to turn toward God may use all 
the wonderful works of man as an aid to this 
great end. But as the painter learns how to use 
the brush, so the teacher to be truly an artist 
needs to learn how to use the means for good 
that are at hand. 

A picture should be carefully and sympa- 
thetically shown for it to be most helpful, es- 
pecially if it is one through which reverence 
may be cultivated, or some spiritual truth im- 
pressed. First, a point of time needs to be con- 
sidered. A difference of effect is to be noted 
according as the children see a picture at the 
right or wrong moment. The manner of pre- 
sentation will also have its bearing. One day 
a beautiful print of Jesus blessing little childreu 
was to be shown in connection with the story 
lesson. One teacher left it where all the chil- 
dren could casually see it before the opening of 
the school service. At the end she said, "This 
is the picture that tells of our lesson; I am 
going to give each of you one to take home," 
and the indifferent exclamation came, "Oh, 
we've seen that!" Another teacher carefully 
hid the picture until she had told the story of 
the mothers and the children coming to Jesus ; 
then she said, "I have something very beautiful 
to show you. If you will be very quiet and 



WHEN A PICTURE IS EFFECTIVELY USED 




Photograph by Paul Weir Cloud. 



147 



EFFECTIVE USE OF PICTURES 149 



have your eyes all ready to see, I will open it. 
I think it will tell you how one man thought 
Jesus looked when he blessed the little children, 
and how happy they were ; ' ' the picture was 
held before them and no one spoke a word for 
a minute or two, then the teacher said very 
softly, "You see how much he loved them. 
Shall we have this on our wall to tell every one 
so?" 

What a picture suggests may well be pointed 
out so as to awaken a, real feeling and possible 
love for it. This does not mean that a teacher 
should tell all that it suggests to her, but that 
the children should be led to see what is there 
for them. 

"Real interest has not only attention, but 
also a sensation of nearness, of intimacy with 
the picture, to enjoy it, to feel it, to think it, 
to one's satisfaction." This is most essential 
if a picture has an ideal element and a possible 
spiritual influence, and not solely an intellectual 
value, that is, simply one of explanation. The 
"teaching power" of a picture varies in degree, 
and this needs to be borne in mind. Some time 
ago Horace G. Brown of the State Normal 
School, Worcester, Mass., wrote on "Efficiency 
in Teaching by Pictures,"* pointing out that 
there is often an unproductive use of picture 

*See Education, Nov., 1913. 



150 PICTURES IN RELIGIOUS EDUCATION 



material in the school-room, and showing that 
"the teaching power of a picture is dependent 
on certain conditions. 

"Every teacher knows that a picture appeals 
to the mind through the eye. Therefore it 
must be individually seen, and so thoroughly, so 
vividly, as to make its maximum impression 
on every pupil. For instance, it must come 
within approximately the same focal distance 
of every child 's vision. It must be seen equally 
by all. Therefore a small picture should not 
be held before the class. It should be presented 
in the best way equally to each child. It should 
also be given enough time to make its full 
impression exactly, vividly, permanently upon 
each mind. This time amount varies with indi- 
viduals. One child sees details slowly, another 
quickly. One sees by wholes, another is dis- 
tracted by part. Hence individuals cannot be 
treated alike. Only experience with children 
can determine the length of time necessary for 
a successful 1 exposure. ' Let us recall the anec- 
dote of two men who had ten minutes in which 
to see Westminster Abbey. One said, i You go 
round the outside and I'll go inside and we 
will do it in seven.' We all know we cannot 
time the fine efficiency of a work of art on our 
feelings with a stop-watch. Children cannot 
see a picture, that is, absorb its picture-power 



EFFECTIVE USE OF PICTURES 151 



fully, by 'going round the outside' while 'we 
go in' (that is, her appreciation will not help 
pupils, if the teacher rapidly passes the picture 
down the aisles). Will not that picture-power 
register higher, if the teacher were to pass twice 
as slowly down each aisle, giving each pupil 
two twice-as-long looks'? Will it not register 
still higher if, on passing the picture, each pupil 
were given adequate time to satisfy his curi- 
osity and his interest? Will it not go higher 
still, if the pictures are placed on exhibit, so 
they must be seen, and so there will be time for 
repeated examination and reinforced impres- 
sion, as the pupil follows his interest in re- 
sponse to the picture's appeal? By this time 
I hear the teacher saying, 'But the time! the 
time is passing!' Certainly, and the measure 
of the picture is registering higher and higher. 
Can we teach by the stop-watch? Or by the 
measure of the power of teaching to produce 
results?" 

These illustrations and suggestions cannot 
be exactly applied to the Sunday school class 
but adaptation can be easily made. If pictures 
are placed on a wall they need to be on a level 
with the eye, and if presented to a department 
or class they need to be held so that all can see 
and sufficient time be taken for a satisfactory 
view. Like a twice-told story, a picture may 



152 PICTURES IN RELIGIOUS EDUCATION 

be introduced a second time and a further sug- 
gestion be given in connection with it. 

A too-frequent use of pictures (certainly, one 
used every Sunday) will detract from their 
value. To see a picture will thus become so 
common a matter that it will lose interest. The 
sense of privilege in having something beauti- 
ful to see will be also lost. Not every story or 
lesson can be wisely accompanied by a picture. 
Perhaps it is one for which a word-picture only 
is best, perhaps a picture suitable for the par- 
ticular group to see cannot be found; it is far 
better not to use any than to use a poor one. 
These reasons of course apply just as truly to 
the giving of pictures every Sunday to be taken 
home as they do to the use of them in teaching. 
' 1 Familiarity breeds contempt, ' ' and there is a 
danger of the loss of appreciation because of 
the careless and constant use of inexpensive 
prints. Any copy of a great picture that is 
worthy to be used should be carefully treated 
by both teachers and children. If such care is 
not cultivated a means for good will be for- 
ever lost. 

What has been termed the "power of recall" 
is strengthened by the use of a series of pic- 
tures especially with older pupils, for instance 
one on the life of Jesus. When a systematic 
picture study is made in the right way, a pupil 



EFFECTIVE USE OF PICTURES 153 



is constantly reminded of what has been pre- 
sented step by step, and we hear him saying, 
"Oh, yes, I remember that," and an impression 
is deepened. In developing a sequence of 
thought through a series, the later pictures will 
recall much that earlier ones have suggested if 
they have been effectively used. Association 
and recall form one of the most satisfactory 
methods of review. 

"Self-education is the best education. "We 
know what we really accomplish by our own 
self-directed effort — initiative, will, wit, power 
— reacts mightily in our power to do again. So 
a picture, found by the pupil, thought about, 
applied to the learning by the pupil himself, is 
vastly more educative to him than being driven 
before a picture, or a series of pictures, and 
told to see this or that. It is here that the 
ready supply of a large number of pictures 
placed conveniently at the pupil's disposal, 
helpfully classified, tempts him to this self- 
directed use of the pictures." From this, two 
suggestions may be gained for church school 
teachers : 1. Let the children find some picture 
on a certain topic or of a certain person or 
place. One group of Primary children, hear- 
ing the story of Creation (from the standpoint 
of the life of nature today), found pictures of 
animals over which "man had been given do- 



154 PICTURES IN RELIGIOUS EDUCATION 



minion." A class of Intermediate girls, when 
studying modern heroes among women, brought 
pictures of Florence Nightingale, Frances Wil- 
lard, Jane Addams, and some not so publicly 
known, who were giving themselves to make the 
world better. 

2. Plans for church school reference libraries 
should include collections of pictures that 
teachers and older pupils may select from, as 
need requires. These may include not only 
those prepared for Sunday school use that must 
be purchased, but also good and suitable prints 
from magazines. A Christmas number of 
Scribner's Magazine a few years ago had some 
beautiful religious pictures relative to the sea- 
son; and an issue of the magazine Home Prog- 
ress showed good illustrations of the Holy 
Land. 

In this day of large opportunity for securing 
and using pictures effectively, may "God use 
us to help each other so." It is possible for us 
to be artists if we will, in the beautifying of 
human nature. 



CHAPTEE X 



HOW TO OBTAIN PICTUKES 

In case teachers are not familiar with the 
various opportunities for getting pictures of 
different kinds, the following information is 
given : 

The picture of "The Boy of Winander" and of "Re- 
ligion" printed in this book may be procured in sepia, car- 
bon or hand colored photographs from Curtis & Cameron, 
Boston, Mass. 

Underwood and Underwood, New York, N. Y., offer a 
large and excellent supply of stereographic pictures illus- 
trative of oriental places and customs. 

Perry Picture Company, Maiden, Mass., supplies prints 
of most of the pictures referred to in the lists noted in 
this book. They can be had in card, cabinet, and wall 
picture sizes, prices ranging from one cent to two 
dollars. 

Brown & Company, Beverly, Mass., have an especially 
good supply of prints on Old Testament subjects, with 
sizes and prices similar to those of the Perry Picture 
Company. 

155 



156 PICTURES IN RELIGIOUS EDUCATION 



W. A. Wilde & Company, Boston, Mass., provide prints 
illustrating Bible Lands; also a set of prints for the Inter- 
national Sunday School Uniform Lessons. 

The various denominational publishing houses supply 
sets of pictures for the Primary lessons of the International 
Sunday School Graded Course; also a series of large pic- 
tures in relation to the Beginners' Stories. Several of 
these would be good to use in other connections, and would 
be worth the price of the dozen in the set sold for a Quar- 
ter's lessons at fifty to seventy-five cents. 

The New York Sunday School Commission, 73 Fifth 
Avenue, New York, N. Y., are the distributing agents for 
copies of the Tissot pictures, size 5x6 inches. Partial 
sets of twenty-five or more may be had for less than one 
dollar. 

Gramstorf Brothers, Maiden, Mass., are the present 
owners of the Soule Art Collection and the Horace K. 
Turner pictures. They supply photographs mounted and 
unmounted, in cabinet size and three sizes larger for 
twenty cents and upwards. 

Taber-Prang Art Company, Springfield, Mass., supplies 
the least expensive of all the larger reproductions which 
are made in artotypes and carbons. These may be ob- 
tained from this firm; artotypes in size from 11x14 to 
28x38; carbons, 6x8 to 16x20, prices 20c. to $4.00. 

Berlin Photographic Company, 1 East 45th Street, New 
York, N. Y. — Larger and finer grades of carbons, photo- 
graphs, photogravures and large photographs for wall pic- 
tures may be obtained from this concern. 

Thomas Nelson & Sons, 381 Fourth Avenue, New York, 
N. Y., are the publishers of a large line of colored wall 



HOW TO OBTAIN PICTURES 



157 



pictures which are especially selected for Sunday school 
purposeSo 

George Busse, 20 East 48th Street, New York, N. Y., 
is the American representative of the famous Woodbury 
Prints. These are supplied in large sizes suitable for wall 
use, both in carbon reproductions and plate photographs. 
In addition many of the better known pictures have been 
reproduced in color, and these colored reproductions are 
being added to constantly, taking the place of many of 
the carbon and photographed reproductions. 

The original of "Christ and the Children" by Trim- 
worth is a statue in Whitworth Park, England, and is re- 
produced in "The Bible for Children" by H. Thistleton 
Mark. (Fleming H. Revell Company.) 

Catalogues of pictures with directions for ordering and 
price lists will be sent on request by most of the firms 
listed. 

In all cities and nearly every town will be found local 
art dealers who carry more or less of the above mentioned 
lines in stock. These dealers should be consulted when 
planning to purchase illustrations for Sunday school and 
class use. On many occasions the opportunity will be 
given to see different sizes of the same print and fre- 
quently substitutes will be suggested which will more ex- 
actly fill the individual need than the picture called for. 



THE END 



